本帖最后由 gzhjb 于 3-9-2022 22:05 编辑
HSV
Use a splitter/combiner node to get even more granular control and sandwich the HSV into two CSTs. This is the one going from DWG to HSV.
And then back out from HSV to DWG. Made sure the net result was nothing, meaning the conversion itself didn't change the image.
On the Hue node (first node in Splitter Combiner), play with LGG to slightly pivot the hues.
On the Sat node (second node in Splitter Combiner) push more Sat with Gain wheel.
Note:
Add Splitter node and Combiner node by right-click at blank area, Add Node, then Splitter or Combiner.
Add three Correctors by right-click at blank area, Add Node, then Corrector.
Turn off Channel 2 and Channel 3 on Corrector Node 1 by right-click on Corrector Node 1 (Hue), then Channels, then uncheck channels accordingly.
Turn off Channel 1 and Channel 3 on Corrector Node 2 by right-click on Corrector Node 2 (Saturation), then Channels, then uncheck channels accordingly.
Turn off Channel 1 and Channel 2 on Corrector Node 3 by right-click on Corrector Node 3 (Value), then Channels, then uncheck channels accordingly.
Hue: Which colour?
Saturation: How pure?
Value: How bright? (Value is not exactly equal to brightness. It is only an approximation.)
In RGB (HSL) colour space, brightness and colour information is entangled in RGB. If we want to control them separately, first we have to disentangle them. That's not possible in RGB. Changing color space is a solution. HSV is one of the color spaces we can try.
Hue: The traditional color name of a specific wavelength of light is a hue. Another description is spectral color. All of the colors of the spectrum are hues.
Saturation: Saturation is concerned with the intensity, or the brightness and dullness of color. A saturated color is high in intensity - it is bright. A color that is dull is unsaturated or low in intensity. Another term for saturation is chroma. A color without any brightness (no hue) is achromatic, (black, white or grey).
Value: Value is concerned with the light and dark properties of color. All colors exhibit these properties. The hues have a natural value where they look the purest. Some colors, like yellow, are naturally light. Some, like violet, are darker. All hues can be made in all values. Adding white paint will make any pigment lighter. Adding black paint will make most pigments darker, but will cause yellow paint to shift in hue to green.
In HSV color space:
- Hue slider: Hue starts with Red and ends with Red. (0 degree to 360 degrees, 0-179 to represent it with 8 bit.)
- Saturation slider: Saturation starts from 0 to 100. (Full white or grey to full saturation, 0-255)
- Value slider: Value starts from 0 to 255. (Full black to full brightness. 0-255)
Each of them changes without affecting the others.
HSV gives you flexibility to control image attributes separately.
本帖最后由 gzhjb 于 3-9-2022 22:29 编辑
The three elements of color: HUE, SATURATION, VALUE.
HUE: The name of the colour, such as: Red, Blue, Green, Yellow, Orange. Pure red is a very popular hue in Web design. Using a lot of pure hues together can add a fun and playful look to a design.
SATURATION: Intensity or purity of a Hue. In its definition, saturation is the purity of a color. In color theory, saturation defines a range from pure color (100%) to grey (0%). The slightly paler saturation of the colors can create a more calming feel than pure hues would.
VALUE: Intensity or purity of a Hue. There are two words connected with VALUE: Tint and Shade, or three words: Tint, Tone and Shade.
TINT: A hue produced by adding White. Tint = Hue + White. Pink is a tint of red, and the two different versions of it work beautifully together.
SHADE: A hue produced by adding Black. Shade = Hue + Black. Navy blue and dark red are commonly used shades in political designs. Shades of blue and yellow combine to create a nautical-themed design.
TONE: A hue produced by adding Grey. Tone = Hue + Grey. Adding grey to a color will make the intensity much duller, or desaturated. Purple takes on a twilight quality when grey is added.
TEMPERATURE: Color temperature is a measure of a light's color. Color temperature is a way of indicating how warm or cool light is.
Warm White: 2800K.
Natural White: 4000K.
Cool White: 6000K.
Typically, the deciding factor is based on the general ambiance of the room. A darker room requires a higher power (the reason why cinema projections in a completely dark room use gamma 2.6). A good rule is to use a value around 2.0 for daylight uncontrolled lighting, 2.2 for dim lighting, 2.35-2.4 for a dark controlled room, and 2.5-2.6 for pitch black.
本帖最后由 gzhjb 于 4-9-2022 21:55 编辑
Different methods for Subtractive Saturation in DaVinci Resolve:
Note: You can skip the parts where I write Increase Sat, and only play with luminance.
On node level, set the color space to HSL. This changes the RGB Mixer from Red Output, Green Output, Blue Output to Hue Output, Saturation Output, Luminance Output. This also changes the individual channels(bars) in each section to Hue, Saturation, and Luminance. Now, in order to reduce "Luminance in the Saturation" you must go to Luminance Output (Blue Output in RGB Mixer), then find the Saturation bar (Green bar) and decrease it (this decreases its luminance since it exists in Luminance Output). Go to the Saturation Output (Green Output) and pull the Saturation bar (Green bar) up to add more saturation.
Color Warper
In a parallel node:
The Luminance needs to go down and the Saturation needs to go up. Go to Chroma & Luma grid in the Color Warper palette. Grab all points in the left grid. Get them down (use Alt+Shift so you don’t accidentally change the hue). You can also lock a Luma row so it is not affected. Click on a point on the image, and the corresponding point on the grid is highlighted. Select Lock Row. Go back to the main Color Warper section. Do the same for Color Warper Grid, select all points, increase the saturation.
3. You can always add this step to complement the methods above: In Custom Curves, Hue vs Sat, increase sat (the entire horizontal line or a specific color. In Hue vs Luma, do the opposite and bring the Luma down.
4. HSL + HSV technique. Mute channel 1 & 2 in each node (right click, channel, select and disable). Gain down by half in HSL node, Up by double the amount in HSV node. (You can now use method 1,2 or 3 to complement method 4).
5. L*a*b Technique: Set the node's Color Space/Color Model to l*a*b
- Increase saturation
-In the Qualifier palette, toggle off the Luminance and the Hue.
Key Saturation except the left-most side (soft key), Blur Radius 36 or less. LAB works best in Display Space so put it after the main LUT/ODT/CST.
In Custom Curves, unchain the curves. Select the Red Curve (it's your Luminance), decrease it (l*a*b* is a bit tricky and I haven't practiced with it enough)
Increasing Saturation doesn't affect the Luminance.
For more adventures in L*A*B read:
Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Color Space by Dan Margulis
~~~~~~~~~~~~~~~~~~~~~
You can transform to HSV and then playing by only affecting the green channel (which is now saturation). Gain will increase/decrease saturation in a mathematically correct way, playing with the gamma can result in a vibrancy-style adjustment. Playing with the curves can also yield some interesting results.
本帖最后由 gzhjb 于 4-9-2022 21:50 编辑
How To Make More Saturated Colors Darker | DaVinci Resolve Tutorial
HSL + HSV
6brYbOjhUcU
BenQ monitor series
PV = Video Post-production
SW = Photography
PD = Graphic Design
4 COLOR GRADING HACKS
1. HAVE A GAMEPLAN
2. STARTING BROAD
3. BALANCE BEFORE LOOK
4. CLEAN SHADOWS
HSV is a cylindrical color model that remaps the RGB primary colors into dimensions that are easier for humans to understand. Like the Munsel Color System, these dimensions are hue, saturation, and value.
- Hue specifies the angle of the color on the RGB color circle. A 0° hue results in red, 120° results in green, and 240° results in blue, 360° results back in red.
- Saturation controls the amount of color used. A color with 100% saturation will be the purest color possible, while 0% saturation yields grayscale.
- Value controls the brightness of the color. A color with 0% brightness is pure black while a color with 100% brightness has no black mixed into the color. Because this dimension is often referred to as brightness, the HSV color model is sometimes called HSB, including in P5.js.
It is important to note that the three dimensions of the HSV color model are interdependent. If the value dimension of a color is set to 0%, the amount of hue and saturation does not matter as the color will be black. Likewise, if the saturation of a color is set to 0%, the hue does not matter as there is no color used. Because the hue dimension is circular, the HSV color model is best depicted as a cylinder. This is illustrated in the interactive example below, where all possible color mixes are represented within the bounds of the cylinder.
How to remove a section of audio (bad audio)
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Monitor for Colour Grading
Summary — For Web, Edit in Rec. 709 and Test Across sRGB and DCI-P3 Using a Wide Gamut Monitor
Again, you can only control what’s in your editing environment. That means you need to maintain color management of the standard you are using, why you are using it, and ensuring your monitor is calibrated for that color space.
For web content, edit in Rec. 709 (which is the default timeline in Adobe Premiere Pro), color correct in Rec. 709, and review on a Rec. 709 monitor. When your project is done, adjust your monitors calibration to DCI-P3 and sRGB to review the potential impact to your edit. I also recommend continuing to check your video across common devices like an iPhone or iPad.
Monitor Color Calibration on a Budget
Check out my follow-up to this article that covers how to calibrate your monitor cheaply: Here
A Note on Calibration…Do it
No matter what display you buy, you need to calibrate it with a calibration tool like the X-Rite ColorMunki (Click Here). Factory calibration is not accurate enough and it does not account for ambient light in your workspace. A calibration tool also helps you recalibrate your display between different colorspaces.
Display Recommendations
These recommendations are based on my own personal budget and research to stay below $1,000. New products are constantly coming out, but these are just a few options. I ended up decreasing my budget so the one I purchased is what I felt to be the most affordable with a decently wide color gamut.
Visual Captive is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com
Low Cost:
What I Bought — $350 Samsung U28UR55 (4k — 90% DCI-P3 Coverage & 99% sRGB) which is only available at Best Buy and Micro Center.
A similar option is the $375 — 27" Dell U2719D with 100% sRGB and 80% DCI-P3 coverage: Here
LG 32UN650-W 32 Inch with 100% sRGB and 95% DCI-P3 at ~$496: Here
Mid-High Cost:
Dell Ultrasharp 27" 4k (100% AdobeRGB, 100% sRGB, 100% Rec. 709, 97.7% DCI-P3 and 76.9% Rec. 2020) : Click Here
Viewsonic VP2785 (4k 99% Adobe RGB ,96% DCI-P3, 100% Rec. 709): Click Here
BenQ SW270C: Here
DWG/Intermediate color managed workflow.
I'm color managing on the project level and simply indicating Resolve that footage is RedWideGamut/Log3g10 (or other cameras' color space and gamut type) in the input color space on each clip.
i use capcut,power by tiktok:lolhttps://www.capcut.com/
cdreader 发表于 28-10-2022 12:04
i use capcut,power by tiktokhttps://www.capcut.com/
谢谢分享啊，点进去看了，感觉还蛮不错的样子。:good:good:good
本帖最后由 gzhjb 于 2-12-2022 16:10 编辑
Clean White Look
Primaries Wheel - Gain - Lower entire YRGB to 85% - Lift Y back to 100%
Lower Color Booster to around -10% (if necessary).
~~~~~~~~~~~~~~~~~~~~~~~~~~
Skin Tone or Other Hues
Color - Presets - Six Vectors - Red
Use Gamma and Gain Wheels to push to sweet spot for skin tone. (can use Gradient Windows to isolate)
~~~~~~~~~~~~~~~~~~~~~~~~~~
Highlights
Qualifier (HSL) - Luminance (only) - L.Soft (9~10) - Low (eyes on frame, select just the top end) - Highlights (bring down from 0 to around -35). (can use Gradient Windows to isolate)
Can use Primaries Wheels - Gain Wheel (push some colors into highlights).
~~~~~~~~~~~~~~~~~~~~~~~~~~
Dreamy Look
Midtone Detail (-20)
What can I do as a colourist to create a summer feel?
As a colorist, you play a vital role in creating a summer feel for a video or film. The color grading process can significantly impact the mood and atmosphere of the final product. Here are some tips to achieve a summer feel in your color grading:
Warm tones: Emphasize warm colors such as oranges, yellows, and reds to evoke the feeling of warmth and sunlit environments. Boost the warmth in skin tones to give subjects a healthy, sun-kissed appearance.
Brightness and contrast: Increase the overall brightness and contrast of your footage to enhance the sunny, vibrant atmosphere. Be cautious not to overdo it, as you want to maintain a natural look while still creating a sense of brightness.
Saturation: Boost the saturation slightly to make colors more vibrant and lively, reflecting the energetic nature of summer. Be mindful not to oversaturate, as it can result in unnatural-looking colors.
Teal and orange color scheme: A popular color grading technique for summer feel is the teal and orange color scheme. This creates a pleasing contrast between the warm skin tones (orange) and cool backgrounds (teal). You can achieve this by shifting the shadows towards teal and the mid-tones/highlights towards orange.
Sun flares and lens effects: To further enhance the summer atmosphere, consider adding sun flares or lens effects in post-production. These effects can create a more immersive and warm environment.
Grading outdoor and indoor scenes: For outdoor scenes, make sure the colors feel bright, sunny, and inviting. For indoor scenes, you can use natural light sources such as windows to create a warm, summer ambiance.
Consistency: Maintain consistency in your color grading throughout the project. Ensure that all scenes share a similar color palette and tone, even when the lighting conditions change.
Reference images: Use reference images or stills from other films or commercials with a strong summer feel to guide your color grading process. This can help you achieve the desired look more effectively.
Collaboration: Collaborate closely with the director, cinematographer, and other team members to ensure that the final color grade aligns with their vision and enhances the summer feel.
Test and iterate: Review your color grading on different devices and screens to ensure it translates well across various viewing environments. Be prepared to make adjustments as needed.
By implementing these tips, you can effectively create a summer feel as a colorist and enhance the overall mood and atmosphere of the video or film.
Node sequence
Additional nodes also should be properly placed. We recommend this layout:
(Noise Reduction) → White Balance → Contrast → Masks → (Color Space Transform) → Dehancer OFX → (Sharpen)
1. (Noise Reduction)
Noise reduction (if needed) is typically the first node. Although this is not always the absolutely best solution in terms of image quality, but practically it is the most convenient one.
2. White Balance
If there is white balance correction needed, it should be done at the very beginning, because it is the first and the primary image correction.
Hence WB node should be applied to the ‘untouched’ footage, if possible, to the source RAW file, using Camera Raw white balance settings.
Since white balance setup is essential for color separation quality, therefore all subsequent tools (e.g., Qualifier) depend on it.
3. Сontrast
The second processing stage is Contrast setup along with all corrections related to exposure, brightness and contrast of the entire image. These could be Color Wheels, Curves, Shadows/Highlights, etc.
4. Masks
After the entire image is basically corrected, some local adjustment usually follows.
A serial or parallel node is acceptable. If both color and contrast require treatment, contrast should be corrected first, because color perception strictly depends on luminance.
5. (Color Space Transform)
If Color Space Transform (CST) or LUT node is used for clip interpretation (instead of Input camera profiles in Dehancer) — these nodes should be located before the plugin, so it gets the corrected input.
6. Dehancer OFX
This is the main ‘look’ node where grading begins with Dehancer settings.
Dehancer research is generally based upon analogue processes. Therefore all tools inside the plugin are grouped and ordered to mimic the film photography pipeline. After conditions are specified, then film is selected, processing and printing follows.
7. (Sharpen)
Final touch-up effects and corrections (e.g., sharpening) may be used after Dehancer node, considering, however, that it could change the appearance of some Dehancer effects like grain, halation, etc.
Above-mentioned node sequence is recommended for both video and static image (photo) processing.
本帖最后由 gzhjb 于 16-4-2023 17:01 编辑
It is best to format a drive you plan to share between a Mac and a PC as ExFAT with a GUID Partition Map. And it’s easier to do that using Disk Utility on a Mac.
It’s always worth remembering. You can always create an ExFAT partition on a larger APFS format drive. And then you can use that partition to share files with a PC.
This is an easy choice.When you want a Time Machine back up of your Mac the only choice out of the two is APFS.
Macs do not support a Time Machine backup to an external drive formatted as ExFAT.
Even with APFS there are some things to bear in mind on your Mac.
APFS as a fairly recent file system format was only supported for a Time Machine backup since Mac OS Big Sur.
There is no APFS Time Machine backup support on earlier Mac OS releases.For those earlier versions of Mac OS. You’ll need your external drive Mac OS Extended Journaled formatted for Time Machine.
本帖最后由 gzhjb 于 17-4-2023 22:49 编辑
The movie "No Country for Old Men" is known for its distinctive color grading, which creates a desaturated and bleak atmosphere that reflects the harsh and unforgiving landscape of West Texas. The film predominantly uses a muted color palette, with a heavy emphasis on blues and yellows, giving it a cold and gritty look. The contrast is also reduced, resulting in a flatter, more washed-out appearance. These choices in color grading serve to enhance the film's themes of violence, loss, and the inevitability of aging and death. Overall, the color grading in "No Country for Old Men" helps to create a distinctive and memorable visual style that complements the film's themes and tone.
本帖最后由 gzhjb 于 23-4-2023 00:16 编辑
Evaluating Provided References Images
Photography Choices
Lighting style: available or controlled?
Quality of light: hard or soft?
Lens choice: long or wide lenses?
Compositions: intentional or ‘found’? Wide or tight?
Grading Choices
Contrast curve: heavy or soft?
Saturation: high or low?
Palette: primary or secondary colors?
Color contrast: how much hue distance between opposing colors?
Overall texture
Sharp or soft?
Clean, noisy, or grainy?
The popular way to make a oppressive feel through color grading.
One popular way to create an oppressive or unsettling mood through color grading is to use desaturated or muted colors with low contrast. This can give the image a flat or lifeless appearance, which can convey a sense of hopelessness or bleakness.
Additionally, cool colors like blues and greens can be used to create a sense of isolation or detachment, while warm colors like oranges and yellows can be used to evoke feelings of anxiety or unease. Using a dominant color like a sickly green or a desaturated blue-gray can also contribute to the overall feeling of oppression.
Another technique that can be effective is to use high-contrast lighting in combination with desaturated or muted colors. This can create harsh shadows and stark contrasts that can contribute to a sense of unease or foreboding.
Overall, the key to creating an oppressive mood through color grading is to use colors and lighting that contribute to a sense of bleakness, isolation, and discomfort. This can be achieved through careful attention to the color grading process and an understanding of the emotional impact of different color palettes.
本帖最后由 gzhjb 于 8-5-2023 20:49 编辑
Wes Anderson
Wes Anderson is a film director known for his distinct and unique style, often described as whimsical, quirky, and visually stunning. His films are characterized by their meticulous attention to detail, use of vibrant colors, and symmetrical compositions.
Anderson's films often have an ensemble cast of characters who are all quirky and eccentric in their own way, and their interactions and relationships form the core of the story. His films are also known for their use of music, with a curated soundtrack that complements the visuals and storytelling.
Some of Wes Anderson's most well-known films include:
"The Grand Budapest Hotel" (2014) - Set in a fictional Eastern European country, this film tells the story of a hotel concierge and his protégé who become embroiled in a theft and murder plot.
"Moonrise Kingdom" (2012) - Set in 1965, this film follows two young lovers who run away together, prompting a search party led by the quirky residents of a small New England island town.
"The Royal Tenenbaums" (2001) - This film follows a dysfunctional family of former child prodigies who reunite when their estranged father fakes a terminal illness.
"Fantastic Mr. Fox" (2009) - An animated film based on the Roald Dahl book, this tells the story of a clever fox who outwits a group of farmers trying to kill him and his family.
"Rushmore" (1998) - This film follows a precocious teenager who falls in love with a teacher at his private school, and the resulting competition with an older businessman for her affection.
Overall, Wes Anderson's films are known for their distinctive visual and storytelling style, and their ability to transport viewers to unique and quirky worlds.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Creating a Wes Anderson-inspired color palette involves careful consideration of the color choices for various elements of the frame, including set design, costumes, and props. Here are some tips to help you achieve a Wes Anderson-inspired look:
[*]Use a limited color palette: Wes Anderson's films are known for their distinctive and limited color palettes. Choose a handful of colors that will be used throughout your project. Pastel hues like light pink, blue, and green, as well as vibrant colors like red and yellow, are often featured in Anderson's films.
[*]Pay attention to the color of your sets and props: The colors of the sets and props in Wes Anderson's films are often carefully chosen to create a cohesive color scheme. Think about the colors you want to use for your set design and props, and make sure they fit with your chosen color palette.
[*]Consider the lighting: Lighting plays a big role in creating the look of a Wes Anderson film. Soft lighting and pastel hues create a dreamy, nostalgic atmosphere, while bright, bold colors can create a more whimsical tone.
[*]Use contrasting colors: Wes Anderson's films often feature contrasting colors, such as red and green, blue and yellow, or pink and brown. Consider using contrasting colors in your project to create a visually striking effect.
[*]Pay attention to details: Details like costumes, props, and even fonts can contribute to the overall look and feel of your project. Choose costumes and props that fit with your chosen color palette, and consider using a unique, vintage-inspired font for titles and captions.
Remember, creating a Wes Anderson-inspired color palette is about creating a cohesive look that fits with the tone and style of your project. Experiment with different colors and lighting techniques until you find the look that works best for you.
Editing
1. The Plan
2. The Prep
3. The Rough Cut
4. The Fine Cut
5. Sound Editing
6. Final Adjustments
Scene Drivers
1. Character Dialogue (reactions, insert shots, music, sound effects and foley)
2. Narration (disjointed character voice, narrator in a documentary or promo, start first with only audio then add picture last)
3. Music (like montages, heavily influenced by rhythm and pacing of music, cutting music first, then picture, then sound effects)
4. Visuals (fight scenes, sex scenes, car chases, cutting picture first, then add supporting elements like score)
5. Sound (to build tension, to create a stylistic motif, dripping faucet, cannons firing, footsteps, most commercials and trailers, add unique sound first, grid out part of a cut, using it as metronome, then create a fully formed sound bed around it, finally cut in supporting visuals)
Holy Trinity of Sound Design
Swishes
Suckbacks
Bassy Hits
Dan Harmon's Eight Elements
1. A character is in a zone of comfort.
2. But they want something.
3. They enter an unfamiliar situation.
4. Adapt to it.
5. Get what they wanted.
6. Pay a heavy price for it.
7. Then return to their familiar situation.
8. Having changed.
本帖最后由 gzhjb 于 26-5-2023 21:58 编辑
Cullen Kelly
To create a grungy and raw feeling through color grading, you can employ various techniques and adjustments in your color grading process. Here are some steps to help you achieve that desired aesthetic:
[*]Start with the right footage: Choose footage that has a gritty and raw quality to begin with, as this will enhance the effectiveness of your color grading. Consider using footage shot in low-light conditions or with high contrast.
[*]Adjust the overall color balance: Begin by adjusting the overall color balance to create a foundation for the grungy look. Decrease the saturation slightly and shift the color temperature towards cooler tones, such as blues and greens. This can be done using the color balance or color temperature controls in your grading software.
[*]Enhance contrast and shadows: Increasing the contrast can add depth and a sense of grittiness to your footage. Boost the contrast, particularly in the mid-tones and shadows. Emphasize the dark areas to create a moody atmosphere. This can be achieved by adjusting the curves or contrast controls in your grading software.
[*]Add a desaturated or faded look: To enhance the grungy vibe, reduce the saturation further, giving the footage a desaturated or faded appearance. You can achieve this by decreasing the saturation control or using a desaturation adjustment layer. Experiment with reducing the saturation differently for different colors to create an uneven and worn-out appearance.
[*]Manipulate individual color channels: Use the color grading tools to manipulate individual color channels. For instance, you can emphasize blues and greens while reducing reds and yellows, creating a colder and more industrial atmosphere. Adjusting the color channels can help you achieve a unique and gritty look.
[*]Introduce color casts and tinting: Experiment with adding color casts or tinting to specific scenes or shots. This can be done by manipulating the color balance or adding a tint adjustment layer. For example, adding a subtle green or sepia tint can evoke a vintage or distressed feel.
[*]Add film grain and texture: Consider adding film grain or texture overlays to enhance the grungy aesthetic. This can mimic the look of old film stock or create a gritty texture. You can find pre-made film grain overlays or generate your own using noise or grain filters in your grading software.
[*]Pay attention to details: Lastly, consider paying attention to smaller details like highlights, shadows, and mid-tones. Adjust these elements to create a more distinctive and grungy feel. Experiment with crushed blacks, lifted highlights, and reduced mid-tone contrast to achieve an edgy and raw look.
Remember, the specific adjustments and techniques may vary depending on the software you're using for color grading. The key is to experiment, be creative, and fine-tune the settings to achieve the desired grungy and raw aesthetic.
Advance Skin
Texture Pop
Operating Mode: Advanced
Color Mode: Luma/Chroma
Output Mode: Final Result
Your Essential Guide to Color Schemes: Definitions, Examples, and Tips
https://blog.depositphotos.com/y ... 0to%20the%20viewer.
Tips for using color schemes#1A monochromatic color scheme is easy on the eye and works well for a minimalist design. To make your design stand out, use contrasting tones of the same hue.#2A complementary color scheme is best used for logos, posters, and product packaging, as it instantly catches the viewer’s eye.#3Try a split complementary color scheme if you are unsure about utilizing a complementary scheme. It is best used for websites, apps, and interior design.#4If you want to create long-lasting designs, use an achromatic color scheme. Neutral aesthetics never go out of style, and it’s hard to go overboard with achromatic colors.#5An analogous color scheme looks harmonious on posters, banners, and websites.#6To add visual interest to a composition, use a triadic color scheme. It is rich in color and provides a high degree of contrast. Still, designs in triadic palettes can look harmonious if the colors are properly balanced.#7A tetradic color scheme is considered the richest; therefore, you should be careful and not blend all colors in the same proportion.
To sum upWhether you’re creating eye-catching images or harmonious landing pages, you don’t need to use all of the hues from your color palette. Sometimes, less is more, and picking only two colors from a palette is enough.We encourage you to experiment with color schemes to find the best shades for your marketing campaign, creative project, or concept. For more ideas, check out our article on movie-inspired color palettes.
R5C Assignable Buttons / JUNE 2023
1. Tracking
2. Magnification
3. False Color: All
4. WFM: All
5. Face Det. & Tracking
6. AF Lock
7. Set White Balance
8. Slow & Fast Motion
9. Slow & Fast Frame Rate
10. REC
11. Eye Detection
12. Assignable Button Setting
13. REC